it’s so scary that fish teeth sometimes look like people teeth. you’re not supposed to have that. well maybe piranhas are scared of us having piranha teeth. i will reflect on my human centric worldview (folds my hands behind my back and gazes out at the horizon)
“i don’t like the women in x media because they’re badly written” “it’s so hard to like the women in y media because they’re all written so poorly :(” when has that ever stopped some of you people from liking poorly and atrociously written men
kenzie is literally the genius who made sm and therefore kpop what it is in terms of musical innovation and distinct sonic identity and she’s so mysterious and never does interviews it’s crazy that this even exists actually.
this article also marks 2013 and the beginning of sm international music camps (a european style of music production) as a turning point in kpop. i didn’t realize that was chris lee’s idea. but that’s when korean songwriters/producers started working with songwriters and producers from different countries and having a kind of fluid collaborative relationship.
Here’s what she means by “East meets West”: For instance, she says Western (or U.S.) melodies tend to maximize the use of one specific melodic motif by repeating it throughout the whole song. “In contrast, K-pop melodies certainly have some repetitive aspects, but on top of that, there are also some unexpected melodic changes as well. Compared to other genres, K-pop tends to have more dramatic transitions between each section of the song, more emotional melodies, and rather maximal track (instrumental) layers,” she says. “In the end, these bits of changes eventually lead to a one, big musical theme. If I were to visualize these K-pop melodies, I would think of a fractal structure. Personally, I feel that every chord progression always has this one special note, which when laid on top, unexpectedly completes the progression and makes it a pleasing phrase that hits our ears. I always dig for this one special note till I get satisfied.”
a fractal structure.. her mind…
“Nowadays, because all the major labels try to adopt the same system, inviting producers from different countries to run song camps, now I feel like the freshness and newness is losing edge,” she says thoughtfully. “And that as a producer is the most challenging thing these days. I try to overcome it by seeking new song structures, new melodies, new ways to collaborate, and new ways of making music. In terms of the melodies — I tend to care a lot about melodies — we often say that all possible melodies have been made and put out in the world,” she says, a sly smile playing on her face. “But I still look for new melodies, something that is different from melodies from the past. Something that would revolutionize the music industry.“
“I personally am not trying to consider too much about the trends, rather I just try to be myself and just pull out something original from inside,” she says. “I don’t know what the plan is, or what the trend is for now. But I start with following the own individual styles, characters, and personalities of the artists I work with, so I try to take care about those factors. When I’m writing, I try to be very immersive — just like breathing, you don’t really notice that you’re breathing, right?”
she’s literally a genius. the artistic ambition. the amount she’s actually accomplished. the way the method of collaboration is intrinsic to the quality of the music. this way of thinking is really emblemetic of what made kpop so good in the 2000s and 2010s, that 2nd to 3rd gen era that everyone remembers fondly. the industry was new and doing genuinely daring bold and different things every time.
ALT
